Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Morocco and from Accra.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Milan.
I'm losing my edge to the art-school Edmonton kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the snare sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Jacob Miller to the punk kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Joey Negro. All the underground hits.
All The Golliwogs tracks. I heard you have a vinyl of every Eric Dolphy record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Chocolate Watch Band record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
Youth Brigade,
Beasts of Bourbon,
Interpol,
Marc Almond,
Gong,
the Normal,
The Dead C,
The Knickerbockers,
The Blackbyrds,
Dark Day,
Eli Mardock,
Franke,
Icehouse,
The Cosmic Jokers,
Be Bop Deluxe,
Matthew Bourne,
Joey Negro,
Depeche Mode,
Public Image Ltd.,
Cal Tjader,
Bobbi Humphrey,
Lalann,
Radiopuhelimet,
The Fire Engines,
The Happenings,
The Golliwogs,
Country Joe & The Fish,
London Community Gospel Choir,
Boredoms,
Gil Scott-Heron & Brian Jackson,
Lebanon Hanover,
The Men They Couldn't Hang,
The Moody Blues,
10cc,
Pussy Galore,
Public Enemy,
Lightning Bolt,
Glambeats Corp.,
Morten Harket,
Make Up,
The Standells,
One Last Wish,
Traffic Nightmare,
Con Funk Shun,
Thee Headcoats,
The Associates,
Audionom,
World's Most,
Connie Case,
Quantec,
Justin Hinds & The Dominoes,
Khruangbin,
Brick,
Liaisons Dangereuses,
Radiohead,
Barbara Tucker,
Avey Tare,
Pharoah Sanders,
Niagra,
Archie Shepp,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.